It’s a reference to how light he can travel when touring his enduring tribute to the late John Lennon.

And given the show’s international travelling schedule in recent years, travelling light is handy.

With co-writer and performer Stewart D’Arrietta, Waters played a 16-week season in New York in 2014.

“That served as something of a pointer to the rest of the world,” Waters said.

“We’ve since been an international act, as opposed to a purely Australian one. We’ve been to Tokyo, Edinburgh, Canada and all over.”

Waters and D’Arrietta are bringing the show home to Australia to embark on a NSW regional tour in January which will include a performance at The Art House, Wyong, on Saturday, January 21.

“It is a show in a suitcase, really. There’s myself and Stewart on stage, and there’s a lighting technician and a sound technician,” Waters said.

Throw in a guitar and an electric piano (for those venues that don’t have a piano), and that’s about the extent of it. No drum kit. No set to bump in. No semi-trailers required.

“It’s a show that we can carry to an audience, and it’s been a touring vehicle,” Waters said.

Waters describes Lennon: Through a Glass Onion as “part-concert, part-biography”.

It features hits including Lennon’s solo works such as Imagine, Woman, Working Class Hero, and Jealous Guy and Lennon's collaborations with Paul McCartney, including Strawberry Fields Forever, Revolution, and Lucy in the Sky with Diamonds.

Simply getting the show on stage in New York was an achievement; but having audiences and critics rave about Glass Onion was a major breakthrough.

“It’s a struggle to compete for the business in New York when you’re up against 500 other shows, but it’s a struggle we enjoyed because we were well received, we got some great reviews from the New York Times, and we also got nominated for a critics’ award in New York City,” Waters said.

Yet, even before the curtain went up on opening night at Union Square Theatre, the Australian creators had enjoyed a win by having Lennon’s widow Yoko Ono and the Lennon Estate endorse the show.

While touring the show in England and America, Waters came to meet several people who knew Lennon personally. Waters said he always welcomed their insight into the man.

“These people always say that he was an incredibly loyal friend,” Waters said.

“If he got on well with you, and he liked you, he let you know, and he kept in contact all the time. And this was in an age when you didn’t simply keep in contact on Facebook. He hand-wrote letters to all of this close friends.

“I like that he had that old-fashioned, nice way of keeping in touch with the people who met something to him.”

Waters and D’Arrietta first conceived the show in 1992, and have been performing it, on and off, ever since.

While the growing popularity of the show suggests it will endure for many years to come, Waters, now aged 67, admits there will come a time when he hands the baton on, and devotes more time to other projects.

(He’s doing a play with Sydney Theatre Company next year, and he’ll soon be launching a movie shot in Western Australia with Ben Elton.)

The succession plan for Glass Onion is well in train.

“I’d wanted someone to take over from me for quite some time now, and there is another guy that we’ve found in the UK who can do the role,” he said.

Englishman Daniel Taylor, 42, is currently performing the Lennon role in the show with D’Arrietta in Montreal, Canada.

“Danny is from Liverpool and he’s played Lennon before on stage, and he’s very good,” Waters said.

“He does it his own way, he brings his own flavour to it, and he’s quite different to me in the way he performs it.”

Waters will continue to perform the show in Australia, and in the US, while Taylor will increasingly play the role in other parts of the world.

“It’s time to hand over,” Waters said.